Пeрформативноста на полифониот слог во делата на Трајко Прокопиев создадени во периодот од 1960 - 1978 година
The polyformity of the polyphonic syllable in the works of Trajko Prokopiev created in the period from 1960 to 1978

Summary/Abstract: Trajko Prokopiev (Kumanovo, 6.11.1909 - 21.1.1979, Belgrade), composer and conductor, is one of the most significant figures in the Macedonian musical history. Performing numerous significant social duties and functions, Prokopiev acts in the restoration and development of the music life in Macedonia in the post war period. The creative work of Trajko Prokopiev is vast and diverse in terms of the genre: orchestra music, musical - scene works, choir music (the cycle six Kumanovo girls for a mixed choir, 1935 – 1958/1976, Lenka for a mixed choir, 1947), solistic and chamber works, reproduction of folks songs for various ansambles, music for plays and film (music for the first Macedonian feature film Frosina, 1952, then Wolf’s night, 1955 etc.). The first composition from the artistic work of Prokopiev, Song for the blonde hairs for piano, 1932 (variations on the topic from the folk song Cut your blond hair girl) actually anticipates the determination of the author to make the Macedonian musical tradition the main source of inspiration for his future work creations. The polyphonic syllable is one of the basic principles of organization of the music matter. This work poses an attempt for providing an answer to the question: whether, to what extent and what type of polyphony is present in the works of Trajko Prokopiev created in the last period of his work, more specifically within the period from 1960 - 1978. Within this period the work of the author is consisted of 15 compositions (solo songs, choir compositions, chamber - related work, orchestra - related work and music - scene works), with which nearly all genres and forms are used (from the smallest to the largest) from his work. Among the other things, this work will have a unique kind of significance for the musicians as well, above all in regards to their adequate approach towards the works in which the polyphonic syllable is used as a principle of organization of the music matter, which will result in their adequate interpretation as well as interpretation substantiated in terms of style as well.

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